sign etc.) and other areas of knowledge transfer.The development ofIntroduction                                           ...
Based on a Eurostat1 (2005) statement the following figures may sup-        •	 Community can be strengthened by establishi...
Cities project core outputs, largely built on the SWOT results, and is       In the Creative Cities project, the first tas...
Indicator           Gdansk                       Genoa                       Leipzig                   Ljubljana          ...
Indicator          Gdansk                      Genoa                         Leipzig                     Ljubljana        ...
Indicator            Gdansk                    Genoa                      Leipzig                     Ljubljana           ...
Indicator        Gdansk                  Genoa                      Leipzig                     Ljubljana                 ...
Elaboration of general measures and instruments of the JAP addresses        It is our mutual interest to develop the creat...
Countries and regions participating in the project will be revitalized        In the fragmentised sector of creative indus...
business activities. Small companies rely even more on reliable net-         On the other hand, they are often characteris...
Depending on the local situation, one shall carefully assess what role                                                    ...
ter policy (existing Media and Creative Industries Cluster), but furtherconsideration in the economic and cultural policie...
organization of cultural programs, and the ‘Creative Industry’ courseGENOA - The public cultural sector, over the last 20 ...
Another important step towards creative industry development basedLEIPZIG - Intermediary sector: A strong self-organised m...
of a market (dominance of aProposed Tools                                                                            few l...
Which role can existing interest groups play? Furthermore, partners will      es will naturally be foremost in national la...
stakeholder programme in parallel to closed partner meetings. In ad-Tool 3: Supporting workshops and events               ...
Best practice example: Cluster Contact Point                                    Tool 5: Setting up strategy groups and/or ...
No: 1.1           Transnational Capacity Building                          Budget and        Personnel, travel and event c...
Risks               different local conditions between partner cities         Description       using Google Translator fu...
Risks               none                                                      Description     Erasmus for Young Entreprene...
Implementation    Awareness raising among entrepreneurs about the      Relation to other   positive contribution to Creati...
Target group      Creative industry companies                             Schedule            summer/autumn 2011: identifi...
II PILLAR: EDUCATION AND EMPLOYMENT                                        Justification                                  ...
The aim of Education and Employment pillar provided to a creative                                                         ...
LJUBLJANA - Level of education attained and the number of higher          LJUBLJANA - Lack of specialised study programmes...
LJUBLJANA - In terms of the number of employees the retail sale of                                                        ...
Proposed ToolsLEIPZIG - Media industries and their sub-segments demonstrate big-gest growth rates. The media industry is –...
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv
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Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv

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Within the Creative Cities Project five cities from five countries have
been working together in order to establish regional cooperation in
the creative industry branch. Gdansk, Genoa, Leipzig, Ljubjana and
Pécs have created an European power field along a North-South axis
having a variety of economic and natural capabilities and similarities
of competitive advantage within the global rivarly.

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Creative Cities – Kreatív Városok európai projekt: Joint Action Plan – Közös Megvalósítási Terv

  1. 1. sign etc.) and other areas of knowledge transfer.The development ofIntroduction creative industry increases life quality and the chance to retent labour is also higher in case of having young workforce coming from higherWithin the Creative Cities Project five cities from five countries have eduction.been working together in order to establish regional cooperation inthe creative industry branch. Gdansk, Genoa, Leipzig, Ljubjana and According to experts a new type of social class appeared at the be-Pécs have created an European power field along a North-South axis ginning of 21st century that has become the key factor of develop-having a variety of economic and natural capabilities and similarities ment. This class is the group of creative people (as Richard Floridaof competitive advantage within the global rivarly. determined) including not only standard creative industry jobs (likeCreative Industry covers a variety of economic activities including painter, advertising expert) but other conventional representatives oftourism, other branches of leisure industries, heritage maintenance, the creative industry like computer programmers. The Creative Classarts, the so-called symbolic economy (advertising, mass media, de- includes a great many knowledge workers, symbolic analysts and pro- fessionals and technical workers but emphasise their true role in the economy. The cities seldom consider their creative citizens as mem- bers of a Creative Class. The number of members of the “creative class” (as defined by experts) will soon exceed the number of workers in conventional industrial branches. The significance of the creative industry is provided not only by the number of jobs created within a town or region or how many percent share it takes from the local industry performance. Where cre- ative industry is developed, the life quality is also higher, the ability of labor retention is also higher in case of young workforce with higher education. The concept of creative industry also includes setting up such a creative milieu at a given settlement that is a basic condition of innovation in a knowledge based industry, a kind of guarantee in attracting capital into the region or settlement.4
  2. 2. Based on a Eurostat1 (2005) statement the following figures may sup- • Community can be strengthened by establishing and operatingport the importance and power of the creative industry in the EU: new local (civil) organizations• 5,8 million jobs in creative industries within the EU • Minorities will evaluate and utilize their cultural heritage that will• 3.1 percent of total EU population (EU-25), all employees of Greece lead to economic and social advantages and Ireland 3. Regarding the environment:• Employment rate increases in creative industry (+1.85%) while de- • Creative industries are established in good environments support- creases in total in the EU between 2002-2004; the growth rate is ing social responsibility 12.3% higher than the employment rate of the economy between 1999-2003 A question how to support the development of creative industries?• 2.6% of total EU GDP is provided by the creative industry. This rate has long been around. No direct answer has ever been given, that is is higher than the rate of chemistry and chemical industries (2.3%) why we still ask ourselves the same question and the answers we were• Creative industry is bigger than the ICT industry able to provide has always been partial and very indirect. It could be• Turnover of creative industry in 2003 was 654 billion EUR, while turn- claimed, that the answer for the mentioned question is a cluster of over of the ICT branch (2003) was 541 billion EUR (EU-15) many diverse answers which all deal with the stimulation of creative industries, but have different origins, different points of view and differ-Beside the above mentioned, creative branches may have significant ent expectations - up to some point of course.impact on other areas as well. They don’t have direct impact on the Another answer can be Joint Action Plan (JAP), one of the Creativeeconomic situation however indirect impact might influence them.(UNIDO, 2006)1. Regarding life quality:• t provides higher income than the local average therefore improves I the availability of education, supports individual development• It provides recreational opportunity to local population.2. Regarding social acceptance and cultural variety• Those not being able to get a job elsewhere may find a new job locally 1 Eurostat statistics 5
  3. 3. Cities project core outputs, largely built on the SWOT results, and is In the Creative Cities project, the first task for all involved cities was athe outcome of numerous discussions with Cluster Work Groups of all thorough assessment of their creative industry sectors (“SWOT analy-regions and addresses the results of the SWOT. sis”). This covered not only examination of industrial performance in the different sub-branches commonly labelled as creative industriesThe plan outlines: but also an analysis of the national, regional and local policy-context1. how public policies should be improved, as well as the role played by the intermediary sector (see table).2. how the cooperation with businesses of oth- er economic sectors can be strengthened Following this assessment, the possible and adequate roles of the local and cooperation potentials exploited, public authority and its partners are either as supporter(giving logistic3. what actions should be taken to improve and possibly financial support to already existing structures), leading human skills and how to support the en- force (lead actor) or enabler (creating favourable framework condi- trepreneurs and start-ups optimally/in an tions but not involving in a process) should be determined. optimal way.4. which joint marketing and dissemination activities should be realised, and5. how transnational cooperation potentials can be better exploited.The Joint Action Plan is endorsed by Cluster Work Groups and the proj-ect’s ISC for that it can unfold a binding character for all further proj-ect activities which are going to be implemented by project partnerstogether with Cluster Work Groups. Furthermore, the Joint Action Planis also addressed to stakeholders in other cities who are encouragedto adopt it as well in order to promote their creative industry clusters.To that aim, the plan is communicated to the member cities of EUROC-ITIES and through other networks and communication outlets.6
  4. 4. Indicator Gdansk Genoa Leipzig Ljubljana PécsPosition of nati- -development of a -no strategy or policy -creative industries -neither a national -creative industryonal/regional modern creative in- concept to promote are recognised as one definition of creative recognised as one ofgovernment dustry sector set as a creative industries on of the most important industries nor a strate- the new important eco- priority in national pro- national/regional levels economic branches of gic policy or funding nomic sector in the so grammes (especially -different sectors of the Germany programme available called “Széchenyi Plan” regard-ing the fostering CI are described in the -own initiative (com- -architecture and de- (national strategic ref- of innovation and col- book of Walter Santa- petence centre) by sign recently added as erence framework) laboration with R&D) gata ‘Libro bianco’ federal government to focuses for the National - Pécs was the Euro- -funding programmes program-mes stimulate entrepreneur- Programme for Culture pean Cultural Capital to finance cultural ac- ship in creative indus- -presence of a number in 2010, now Pécs has a tivities in various fields tries and growth of national cultural insti- trade mark as Pécs the implemented by the -creative industry tutions in the city City of Culture - region- regional administration report published by - 9th developement al development agen- regional government group has provided the cy has programmes for directions for develop- creative industry sector ment of CC - With this year the Ministry of Cul- ture has undertaken the measures to encourage creative indutries. He budget is 600.000,00 € 7
  5. 5. Indicator Gdansk Genoa Leipzig Ljubljana Pécs Position of the - municipality co-orga- - mixed creative - historical focus on - municipality runs - operator of a num- local public au- nises (and co-finances) economy where the media sector has been a number of public ber of cultural facilities thority a number of renown local public authority’s broadened to include service enterprises ac- (including new ones events relevant for cre- financing, grants and other creative industry tive in culture and/or erected during the ative industries own cultural institutions sub-branches whose creative industries (e.g. European Capital of - operator of most cul- exert a dominant role economic potentials International Centre of Culture year in 2010), tural institutions in the - municipality promotes have been realised Graphic Arts) but has only limited city a cultural district in the - large amount of pub- - municipality acknowl- funds to support other city centre and a lead- lic spending for cultural edges economic de- projects and initiatives ing role of audiovisual institutions and projects velopment potentials of industries in the revitali- - efforts to promote the culture - project Second sation of former indus- allocation of creative Chance trial areas industries in deprived urban areas8
  6. 6. Indicator Gdansk Genoa Leipzig Ljubljana PécsRole of the inter- - high number of civil - limited number of - large number of initia- - 47 non-governmental - existence of a cre-mediary sector society associations intermediary actors that tives and associations organisations dealing ative industry cluster to promote the city’s are limited to a narrow promoting creative with culture located in organisation since 2007 cultural life area of activities industries and cultural Ljubljana, many of them (South-Transdanubian activities receive public funding Cultural Industry Clus- - recent creation of ter) a business network: - energy bursting civil “Kreatives Leipzig” as society sector - yet un- interest group and clus- organised ter organisationPresence of in- - no visible industrial - some leading insti- - small number of - presence of almost all - some leading institu-dustrial leaders leader beside the well- tutions, yet foremost outstanding industrial national leaders from tion most of them are established software/IT public ones performers or public different creative indus- public ones branch figures vs. a very large try sub-branches in the number of small actors, Slovene capital including some “hid- den champions” 9
  7. 7. Indicator Gdansk Genoa Leipzig Ljubljana Pécs Other relevant - city aims to become - shortage of market - limited number of - small size of the do- - rich in cultural assets factors the European Capital outlets in Genoa/the local/regional clients mestic market forces - lack of industrial of Culture 2016 Liguria region while and customers and companies to “think customers of creative having connections significantly sale prices beyond borders” industry products in whit other regions’/ prices than in other - lack of cultural spaces the region itself (domi- countries’ markets are parts of Germany -sig- / infrastructures nance of energy and often unexplored nificant differences in - Too little awareness agro-food sectors) - lack of services pro- added value between of CI importance in na- - shared awareness moting professional sub-sectors - close- tional economy. among creative indus- business development ness to Berlin where - I think that there is try companies in creative industries much more prominent enough cultural spaces, - there is some critical creative industries are but they are not com- mass for the CI produc- found bined and homogenius tion in Genoa - many creative indus- - lack of industrial - for the CI products try companies lack ad- customers of creative there is a big offer but equate capital endow- industry products in the there is not so much ment and managerial region itself (more de- demand skills veloped service field)10
  8. 8. Elaboration of general measures and instruments of the JAP addresses It is our mutual interest to develop the creative industry and to orga-the following points: nize the first, joint, market-oriented EU project of the creative industry. Our most important objectives and interests as follow:1. Networking (main part: City of Leipzig & Aufbauwerk) • to generate such innovative and economically potential industrial• to get relevant stakeholders and policy makers effectively connec- processes, the impact of economic development, which may re- ted to disseminate information sult in the increase of earning capacity and quality development2. Further education & employment (main part: GEF Gdansk & Gdansk of servicing systems City Hall) • to recognize and publicize the creative industry to large segments• to promote entrepreneurial skills of the society and to representatives of other developing and/or• to raise awareness about creative industries (different culture of en- key sectors trepreneurship, intellectual property, structure of the sector) • to present the utilization opportunities within the creative industry,3. Transfer of knowledge (main part: Municipality of Genoa & Job Cen- linking to industrial production, biotechnology, environmental pro- tre Genoa) jects, communication and financial services• to ensure permanent knowledge transfer (between project partners, • to operate a cooperative European network that is able to commu- between stakeholders) nicate its own interest and to reduce unreasonable inner market com-4. Marketing (main part: City of Pecs & KIKK) petition• to highlight the potentials of the creative actors (towards other eco- • to establish and transfer know-how systems nomic sectors in and beyond each partner city)5. Infrastructure (main part: IER & RDA LUR) Moreover, in a parallel process to elaborate a Joint Action Plan on• promotion and visualisation of (soft, hard) location factors European level, further actions are defined to be implemented in6. Financial support (main part: IER & RDA LUR) transnational partnerships on local levels. The Local Implementation• promotion and visualisation of (soft, hard) location factors Plans also consist of six pillars of activities. In each pillar, actions have• to provide creative actors better access to financial support been determined to be anticipated to lead to a target state that has been defined as strategic objective. The information given for each action includes the steps towards their achievement, its target groups, its schedule, how responsibilities are assigned, which budget lines from the Creative Cities project are going to be used, and who can be ad- dressed by anybody seeking further information. 11
  9. 9. Countries and regions participating in the project will be revitalized In the fragmentised sector of creative industries, networks can further-and will become active participants in their own future by utilizing more help to give better visibility to micro-companies that otherwisecreative opportunities. They will have economic perspective and vi- remain hidden champions in their business fields, also shifting focussion again, migration will decrease, new investments will be started. away from established players towards the presently unknown. Networks furthermore help to pool resources. If information is moreI PILLAR: NETWORKING and quickerly accessible, companies will save human resourcesthat are otherwise necessary to research those themselves. If companiesIntroduction from complimentary professional backgrounds come together, syner- gies from working together will be evident – including economies ofThe creative industry sector is dominated by self-employed persons and scale when technical equipment is shared. If small creative businessesmicro-businesses. In addition to the heterogeneous and fragmentised engage in reliable partnerships, they will participate in competitionsstructure of the sector, most enterprises lack sufficient human, technical for larger and better-paid projects. Acting as a network, small busi-and financial resources and hardly ever have the chance to implement nesses in creative industries also become more attractive partners forlarge or significant projects. The ability to network and collaborate with research and technological development.other creative industry businesses is therefore a vital factor for the com- In addition to benefits regarding human, technical and financial re-petitiveness of the entire sector. To facilitate ‘Networking’ henceforth is sources, networks also provide a basis to express common interestsaddressed by a separate chapter of the Joint Action Plan. towards decision-makers in politics, administration or research. Since it is impossible to listen to the opinions of individual one-person com-Like no other economic sector, creative panies, public authorities and their partners in the promotion of eco-businesses benefit from each others’ nomic development rely on trustworthy network structures that cancompany, from collaboration and ex- also act as an interest group or engage as their partners in projects.change. For them, networking is aboutmaking connections and building en- On international level, networks help to expand business activities be-during, mutually beneficial relation- yond one company’s own country. Especially in smaller countries, theships where partners cross-fertilise each domestic market for creative products and services is naturally limitedother with fresh creative input. and significant growth can only be achieved through international12
  10. 10. business activities. Small companies rely even more on reliable net- On the other hand, they are often characteristed by scarce resourcesworks that can help them to find abroad the partners they need when as their members do not achieve the turnovers to finance a profes-they engage in activities beyond borders. sional structure without proper public support. A top-down approach where a network is created as result of a public policy has usually the advantage that financial resources are immediately available. In turn,Justification acceptance and active participation of the target groups might be- come handicaps, especially once no further public money is madeWhile networking itself is an activity in which the creative industry com- available to maintain the network structure.panies must engage themselves and on their own terms, local publicauthorities and their partners in the promotion of local economic de- Measures in the support of networking address foremost companiesvelopment can create favourable framework conditions. Their aims and self-employed persons, who offer their services and products inare therefore the following: the sector of creative industries. This includes businesses of any size and any market share. Following the paradigm of clustering, a higher qual-• to create friendly conditions and mechanisms that facilitate ity of a network would be achieved if the network brought together making contacts and creating a network not only businesses but also researchers and public authorities (“triple- of mutual contacts among various enti- helix”). ties active in the creative industr y sector, including the world of research, and Such networks, or – if more sophisticated (common values, added• to provide tools that facilitate the creation value chains, etc) – clusters, often provide not only horizontal ex- and qualification of networks. change but also vertical business-to-business cooperation. There- fore, businesses that are customers of creative products should beThough the advantages of networking are regarded as an important target group of networking activities aseasily identifiable and tangible, there is no well. The composition of the target groups for the promotion of net-general approach to the promotion of net- working varies however largely from one location to the other andworking. A bottom-up structure that is carried out by the creative in- must therefore be carefully assessed ahead of activities being re-dustry stakeholders themselves is preferable as it usually has a better alised.acceptance, longer durability, and more active participation. 13
  11. 11. Depending on the local situation, one shall carefully assess what role EXISTING NETWORK STRUCTURES:is appropriate for public authorities to play. Networks unfold their dy-namics only if a strong network agent is present, this might be a per- GDANSK - There is no formal cluster policy for creative industries inson, an institution or a common cause. Gdansk. On the basis of networking activities designed within the framework of CC project and further integration of creative commu- nity the strong goal is to set up a cluster in Gdansk Business IncubatorStarting Point “Starter”. It’s necessary to provide a mentor responsible for managingThe in-depth assessment of local and regional strengths, weaknesses, cluster organization and motivating members through activities use-opportunities and threats (SWOT analysis) which was carried out in ful for creative sector development. In Gdansk exists few informal co-each of the partner cities was the basis for planning further steps in operational initiatives, often connected with cyclic cultural events the field of networking. In order to evaluate the role of public authori- (Batycki Factory. Art&Business Meetings; Art Bay). It gives great oppor-ties and other important stakeholders, the SWOT analysis covered the tunity for creative people to meet, exchange experiences and makenational, regional and local policy context. combined plans for the future professional development.This allowed to assess their potential function and their relationship to GENOA - Thank to the CC projects a cluster including differentthe creative industry, and to categorize them either as driving forces, branches of CI, has been built in Genoa between 2010 and 2011. Thereas supporters with the potential to provide logistical and/or financial are business associations and cultural sector networks - such as thesupport to existing structures, or as enablers that could facilitate fa- network between art film cinemas and a network to be realized tovourable conditions for networking without being directly involved. create a network of the biggest theaters of the city aimed at creating a playbill of events out of city and out of region – but, at the moment,The following table shows the assessment of the indicators related to the a network including all the sectors of Creative Industries doesn’t existnetworking pillar for each of the partner cities. yet. The public policies in the field of cultural promotion support these networks. To date, however, it is not possible to find a specific policy on the Creative Industry. LEIPZIG - The creative industries are integrated into the city’s clus-14
  12. 12. ter policy (existing Media and Creative Industries Cluster), but furtherconsideration in the economic and cultural policies is necessary. Net-works among the creative in Leipzig are mostly focused on specificbranches and very heterogeneous.LJUBLJANA - At the level of policy making creative industries hadnot been considered as a main factor of urban or regional develop-ment, therefore formal network structures at the policy level had notbeen noted. There are quite some networks which could be related tocreative economy (networks of architects, designers, etc.) but these (Potential) driving forces:kinds of networks are mostly established by the members themselvesor by NGO’s. GDANSK - One of the strongest branches in Gdansk’s creative sectors are jewellery and ICT.PÉCS - The cooperation of creative industry actors in the existing clus- Many specialists connected with fashion industry can develop their pro-ter is successful but there are also other important actors who should fessional skills in Gdansk, where two biggest fashion companies have theirbe integrated into the network. Pécs City Municipality expressed its headquarters here. Design is another branch with big potential, eachpurpose to develop creative industry, ‘Pécs, The City Of Culture’ is pro- year more and more initiatives and events are organized in this field:tected as a trade-mark. One of the pillars of ‘Polus program’, which is • Gdynia Design Daysdeterminative in the region economy, is the creative industry. • Centre of Design • About Design fairs Moreover, local institutions surrounding business offer supporting prog- rammes designed specially for creative industry representatives. We must remember about academic centres, which provide wide edu- cational offer for representatives of creative industry from the Gdansk Metropolis. 15
  13. 13. organization of cultural programs, and the ‘Creative Industry’ courseGENOA - The public cultural sector, over the last 20 years, has been on university.very important for the city being one of the changing drive of the cityitself from a harbor and manufacturing city to a cultural and touristic (Potential) supporters:city. 3.25% of the municipal budget is reserved for culture. Moreover,Municipality of Genoa supports for many years the creativity of young GDANSK - In Gdansk one can ob-people through the participation to ministerial announcements. Im- serve strong intention for cooperationportant and fundamental private drivers are the bank foundations between creative industries represen-and some foundations of large companies from Genoa. Their funding tatives, which can be reinforce by net-are addressed to the cultural area, shows and entertainment, visual working initiatives connected with localarts and young people. academic centres or financial institu- tions. Support for creative industry isLEIPZIG - Public cultural sector: The public cultural sector has a long- provided by local administration and institutions surrounding business.standing history in Leipzig and will remain a key driver. 5% of the mu- Moreover, numerous creative and cultural initiatives are often imple-nicipal budget shall be reserved for culture. Private sector: Major pri- mented informally or semi-formally, which shows the high potential ofvate stakeholders in the cultural industries in Leipzig exist especially in networking and a strong will for cooperation.the fields of Music, Books, Media and Design. GENOA - The creative scene is vivified by actors and networks of ac-LJUBLJANA - At the institutional level the driving forces are mostly tors both public and private. The public cultural planning concernsrelated to Ministry for Culture and the Municipality of Ljubljana. This above all to the Municipality and the Fondazione per la Cultura thatcould particularly be related to the institutional support of the NGO’s are able to attract private funds. The city’s cultural agenda is rich ofwhich deal with the creative industries somehow. input from the private networks, e.g. START (art galleries’ network). The local cultural production is helped by the action of the Genoese socialPÉCS - Pécs as the Cultural Capital of Europe established two infra- centers in which there are educational activities and performing artsstructures: Kodály Központ Music Hall and the Zsolnay Cultural Quarter, mainly in the field of music and visual art.which are able to drive creative industry. According to the SWOT ana-lysis, break-out points could be the film industry, heritage and design,16
  14. 14. Another important step towards creative industry development basedLEIPZIG - Intermediary sector: A strong self-organised movement ex- on networking activities is providing infrastructure enabling profes-ists in Leipzig for the support of the independent cultural scene, rooted sional growth in this field. Great solution is Gdansk Business Incuba-in specific urban districts and locations (cultural houses, youth cen- tor “STARTER”, where creative industries representatives can find officeters). Professionalization of the intermediary sector is necessary to fa- space on preferential terms, and in the near future can use also thecilitate co-existence with the public and private sectors. Incubator training offer (standard/e-learning/blended learning), ad- visory and consultancy services, mentoring, networking and accountLJUBLJANA - Potential supporters could be from the educational in- services.stitutions for example, than from the municipal and regional adminis-tration, and there are some private initiatives dealing with the support GENOA - The Creative Industry development could be enhanced byof the creative industries sector. the creation of a Creative Industries Association and with local devel- opment actions like the Patto per lo sviluppo della Maddalena (Mad-PÉCS - Pécs as a university city builds upon the youth, students, and dalena’s development deal) through which the Municipality of Ge-voluntary activities. Pécs City Municipality supports for developing noa, together with the Chamber of Commerce, Prefecture, businesscreative industry and the local Regional Development Agency calls associations, citizens, C.I.V. and Compagnia di San Paolo, is encour-for creative development tenders. aging the physical and social requalification of the city area. LEIPZIG - Informal networks have often provided important support(Potential) enablers: structures and helped coping with political changes.GDANSK - Social transformations require increasingly high specializa- LJUBLJANA - Rather informal networks of support within specific CI sectors.tion. This fact demands cooperation and having contacts that providethe suitable fulfilment of tasks in spite of the lack of knowledge or expe- PÉCS - The continuous strengthening of cluster, the positive attittude ofrience in a specific area. Creative businesses in the Gdansk are aware agencies and the youths’ organization power resulted in recognition andthat changes are necessary. Cooperation of various partners involved acknowledgement of creative industry as an economic factor. The eco-in the creative industry will make it possible to implement projects that nomic changes enforce innovative solutions and to re-structure the la-cannot be executed without creating a formal cooperation group. bour market. 17
  15. 15. of a market (dominance of aProposed Tools few larger companies or criti- cal mass of micro businesses),Proposed activities with regard to networking are the following: already existing formal and1. diagnosis of the present condition and mapping of existing structures informal structures (associa-2. supporting platforms and databases tions, interest groups, regu-3. supporting workshops and events lar reunions, etc), and the4. matching actors locally degree of interdependen-5. setting up strategic groups and/or putting an ambassador’s model cy between market actors. in place. Therefore, a local stakeholder mapping is a vital first task before any other activities can be launched. Possible tools include stakeholderIn the following, these tools are shortly described, baring in mind interviews, branch-focused hearings, and surveys.that the details of their implementation will need to vary betweencities to appropriately take diverse national and local framework Since the creative industries sector is very heterogeneous, it mightconditions and institutions’ different policy and implementation ca- be worth considering focusing on a smaller number of sub-branchespacities (legally and financially) into account. For the partners of where potentials for collaboration and gains through synergies arethe Creative Cities project, details are therefore elaborated in Lo- highest. Therefore, the different needs of the stakeholders and theircal Implementation Plans where each city selects appropriate mea- abilities to engage in networking must be analysed. Naturally, micro-sures based on those tools, yet adjusting and also combining them businesses have only limited human resources for activities that createto suit local conditions. only indirect revenues, especially if their market position is not consoli- dated. Furthermore, the awareness needs to be increased that joint projects with other businesses that are tomorrow’s competitors lead toTool 1: Diagnosis of the present condition and several benefits that should outweigh the angst of sharing knowledge.mapping of existing structures On transnational level, project partners exchange and compare theirThe action precedes the creation of favourable conditions for net- methodologies regarding this task. Are branch hearings more suitableworking. Important considerations include the composition and size than an anonymous online survey?18
  16. 16. Which role can existing interest groups play? Furthermore, partners will es will naturally be foremost in national language, their transnation-mutually assess and compare their results to identify possible transna- al linking using tools like Google Translator will be initiated, allowingtional cooperation potentials already at that point. The transnational stakeholders to search information about their peers in other cities ofmeetings of the project partners and the network of ‘Cluster Contact the project. Furthermore, links to Facebook fan pages are exchanged.Points’ in the partner cities are tools for this task’s accomplishment. Best practice example: Application Programming Interface (Leipzig)Tool 2: Supporting platforms and databases In 2010, creative minds at Leipzig set up the online portal www.kreatives-Web portals, databases, social media fan pages, blogs and other leipzig.de and created a registered association to run and further en-modern communication tools represent easy-to-use tools to share in- hance the website as well as to organise “analogue” networking activitiesformation and to build a creative community. Where possible, instru- on a self-sustaining basis. In reaction to this positive initiative, the City ofments already in use by the local target group should be furthered and Leipzig had decided to sponsor an Application Programming Interfacequalified (e.g. web portals of already existing networks of creative ac- (API) that allows the municipality to share its data on the city’s creativetors). Data about local companies in the creative sector and existing industry branch and to exchange information on events. The API also al- interest groups (professional associa- lows the municipality to benefit and learn from the data produced by the tions, e.g. for architects) should be dis- creative industry stakeholders using their different platforms. played, and events relevant to the tar- This Open Data initiative was furthermore designed as a collaborative task. get group communicated. To ensure Before commissioning the task, the City of Leipzig invited stakeholders to the durability of the promoted tools, define jointly the functions of the API. Its programming exercise furthermore a broad discussion with stakehold- brought different start-ups together to “co-work” towards the innovative ers should proceed solution. where questions of the long-term City of Leipzig, Economic Development Office maintenance are Contact person: Michael Koerner (Michael.koerner@leipzig.de; to be addressed. Phone : +49 341 1235826) Though these pag- Realisation: December 2010 - May 2011 19
  17. 17. stakeholder programme in parallel to closed partner meetings. In ad-Tool 3: Supporting workshops and events dition, the network of Cluster Contact Points will provide logistic sup- port to creative industry businesses who wish to participate in eventsThematic workshops and creative industry events are great oppor- and fairs taking place in the partner cities, e.g. the CinePécs Filmtunities to meet and network on both local and transnational levels. Festival at Pécs or the Designers’ Open design fair at Leipzig. Finally,Local public authorities should therefore promote or co-sponsor such the transnational project partners will exchange their experiences onactivities, e.g. good practices in the support of local events, e.g. how the biggest• by awarding financial support to impacts can be created despite scarce resources. facilitate the presence of high- profile persons and international speakers, or Tool 4: Matching actors• to stage own matchmaking activi- ties within those events, or In all Creative Cities partner locations, Clus-• to open up existing events or busi- ter Contact Points are opening in 2011 to ness clubs and allowing creative reach out to the creative community dur- industry stakeholders to partici- ing the project’s implementation phase. pate in those. Besides activities regarding the stakeholder communication of activities and organis-A good approach might also be to combine networking activities ing their participation, the Cluster Contactwith workshops and seminars aiming to build professional capacities Points will pro-actively bring stakeholdersof creative industry business representatives. together and help to set up collaborative projects between them – both on localSuch activities will not stop at the local level but are transposed by and transnational levels.the Creative Cities partnership to the transnational level. At each ofthe project’s public conferences, stakeholders from one sub-branchof creative industries are invited to participate and enjoy a specific20
  18. 18. Best practice example: Cluster Contact Point Tool 5: Setting up strategy groups and/or puttingat Leipzig an ambassador’s model in placeIn January 2011 Aufbauwerk Region Leipzig established the Cluster Con-tact Point (“Kontaktstelle Kreativwirtschaft”), stressing the need for a bet- Due to the high degree of fragmentation andter coordination within the network of creative stakeholders and the City the enormous number of free-lancers and microof Leipzig. Behind the Contact Point there is an employee who operates -businesses, public policy makers are in needas an interface between creative actors and local public authorities, in of contact persons that can provide collec-order to promote and enhance a common understanding and to en- tive and representative feedback on policiescourage cooperative projects. as well as input for current debates. Therefore, the creation of a strategic group in the formThe employee offers a special assistance for creative actors interested in of an advisory board is an appropriate action.starting up a business or in launching a new project, by addressing them The high profiles of the group members’s con-to credit institutions and public authorities or suggesting them profitable tribute to a better visibility of the network and encourage others toworking relationships. Furthermore, the employee attends workshops or join networking activities. Furthermore, they can assume the functionseminars at the university and in educational institutions in order to get of ambassadors for their cities’ creative industries both towards otherin contact with students, to listen to their needs as well as to offer them sectors’ businesses as well as other regions’ stakeholders.advices for a future career in the creative fields.Aufbauwerk Region Leipzig GmbH Proposed Transnational ActivitiesContact person: Carolin Demus(kontaktstelle@aufbauwerk-leipzig.com; Phone : +49 341 14077950) The above described tools are mainly local activities but have a trans-Realisation: January 2011 - December 2012 national dimension as well. Between the partners of the Creative Ci- ties project, the following transnational activities have therefore been agreed: 21
  19. 19. No: 1.1 Transnational Capacity Building Budget and Personnel, travel and event costs from Creative Cit- sources ies budget (including the invitation of expert speak- Cities involved All ers if appropriate) Objectives Share experiences in the promotion of networks of Implementation The action shall be implemented in two workshops creative industries and their qualification at Gdansk in November 2011 Enable project partners to undertake the most ap- at Genoa in Spring 2012 propriate actions in their cities (capacity building) Planned outputs about 25 project partner representatives partici- Description Realisation of workshops in the framework of the pate project’s partner meetings on the following topics: capacities built The Principle Agent Model in Networking: How to local actions optimised identify the right leading actors in creative indus- Schedule September/October 2011: elaboration of 1st work- tries? shop manual The Role of Public Bodies: Which actions can and November 2011: preparation of participants, reali- should they take, from which they must refrain? sation Shaping a Network’s Strategy: How can policy- December 2011: summary of learning points makers and network “ambassadors” work together February/March 2012: elaboration of 2 nd workshop in agenda-setting? manual From Network to Cluster: Which actions help to take Spring 2012: preparation of participants, realisation the next step? before summer 2012: summary of learning points Justification Since networking and clustering on both local and transnational level are key objectives of the Creative Cities project, there is a high potential for thorough exchange and mutual learning. Target group Project partners, foremost local public authorities22
  20. 20. Risks different local conditions between partner cities Description using Google Translator functions (or similar), plat- (e.g. no creative industry structures at Ljubljana, forms/websites where companies in creative indus- cluster of European recognition in Pécs) tries are presented (e.g. foreseen platform estab- different institutional backgrounds of partners (e.g. lished to assist Genoa’s Cluster Contact Point) are Genoa – leading role of Cultural Affairs Office, linked, making it possible that results are displayed Gdansk: Entrepreneurship Foundation as leading in local language (e.g. users of Genoa’s website partner) can access data about creative companies from Pécs in Italian language)Durability Workshop results are summarised in recommenda- tions to partners Justification many creative industry businesses are very small in size and lack resources to engage in internationalRelation to other Action is essential task in the Creative Cities project activities which are yet important to access newprojects/ actions markets and hence to survive/grow Target group all businesses active in creative industries Budget and little costs for the programming of links (via Google sources Translator or similar)No: 1.2 Web 2.0 Connections Implementation managers/technicians of websites programme theCities involved Pécs, Gdansk, Ljubljana needed linksObjectives promote collaborations between actors in creative Planned outputs established online links industries from different cities anticipated increase in international traffic com- make data about local creative industry compa- pared to before-local websites nies available to an international audience Schedule the action can be implemented quickly once local websites with company profiles are online 23
  21. 21. Risks none Description Erasmus for Young Entrepreneurs is the European Union’s business exchange programme aimed at Durability infinite helping new or would-be entrepreneurs to acquire Relation to other positive contribution to other efforts, e.g. by Cluster the relevant skills for managing a small or medium- projects/ actions Contact Points, to network creative industries from sized enterprise and experienced businessmen or partner cities women, looking for fresh perspectives and interna- potential basis for b2b collaborations tional cooperation opportunities. Participants receive EU financial assistance to work abroad in a peer company for a period of 1-6 No: 1.3 Business Exchange Programme months. During their stay, they can mutually ex- change skills or prepare common projects. Interme- Cities involved Pécs, Genoa, Leipzig diate organisations provide further assistance. Objectives extraversion and internationalisation of entrepre- Justification A transnational exchange helps to build up new neurs in creative industries capacities, additional international contacts, and transnational peer-to-peer coaching insights in other countries’ markets for creative promote a better access to external markets and industry products. transnational b2b collaboration Target group young and experienced entrepreneurs Budget and Personnel: own resources of participating institu- sources tions, possible support by Creative Cities’ Cluster Contact Points Travel costs of the exchangees, accommodation in host country and subsistence: EU Programme (see www.erasmus-entrepreneurs.eu)24
  22. 22. Implementation Awareness raising among entrepreneurs about the Relation to other positive contribution to Creative Cities’ objectives programme projects (transnational inter-cluster) Assistance to potential participants to complete the online form Matching exchangees and hosts (with assistance No: 1.4 Congress and Tradeshow Participation from the programme’s intermediate organisations) Cities involved Pécs, Genoa, Leipzig, Ljubljana Supervision of the exchange optional, if exchange is well accepted: applica- Objectives advertise participating cities’ creative businesses at tion of involved partners to become intermediate international fairs and congresses organisations assist companies in establishing international con- tacts and b2b collaborationsPlanned outputs first year - 2012: 10 exchanges (20 participants) Description Numerous national programmes exist to facilitateSchedule awareness raising and preparatory activities: sum- the participation in these events, including co- mer/autumn 2011 financing to cover travel costs and participation realisation of first exchanges: before end of 2011 fees. On the one hand, some important eventsRisks negative perception by entrepreneurs (unable to exist across partner cities (e.g CinePécs, Biennale commit the necessary time to engage in an ex- for Industrial Design Ljubljana). On the other one, change) businesses from partner cities could work together uncertain future of EU programme after 2013 to arrange a joint presentation, e.g. organising a panel (e.g. at SXSW Interactive, Austin, Texas).Durability if first year’s experiences proof successful, the cooperation can be enshrined in the long-term Justification The participation in internationally well-renown cooperation agreement expected before the end congresses and tradeshows can have very positive of the Creative Cities project effects on a company’s reputation, market access and strategy. 25
  23. 23. Target group Creative industry companies Schedule summer/autumn 2011: identification of prog- rammes/events and awareness of raising Budget and The organisations participating in the action would autumn 2011 onward: realisation and documenta- sources need to cover their staff resources themselves or tion from the Creative Cities project budget (e.g. Clus- ter Contact Points). All other expenditure is covered Risks negative perception by entrepreneurs (unable to by the benefitting businesses and, where possible, commit the necessary time to engage in an ex- from national programmes. change) bids for national funding programmes might not be Implementation Identification of national/regional funding pro- successful grammes Identification of events within and beyond partici- Durability if first year’s experiences proof to be successful, pating cities the cooperation can be enshrined in the long-term Awareness of raising among companies (e.g. by cooperation agreement expected before the end publishing a list of events and a list of programmes) of the Creative Cities project Assistance to interested companies (applying for Relation to other positive contribution to Creative Cities’ objectives programmes, searching partners from other cities, projects/ actions (strengthening of market potentials of target enter- etc) prises) Documentation (e.g. short news bulletin) Planned outputs identification of at least one funding programme per participating location identification of at least 25 congresses/tradeshows relevant for creative industries first year: at least 5 interested companies per part- ner city26
  24. 24. II PILLAR: EDUCATION AND EMPLOYMENT Justification Enhancing professional competences, business skills and talents devel-Introduction opment are one of the key elements for the Creative Industry growth. It is also connected with some dynamic changes in the labour mar-Creative Industry sector is characterized by diversity and a fragment- ket which require the acquisition and update of knowledge, havinged structure, very often totally non-formalized and very flexible one. both general and specialist skills. There is often a lack of informationTherefore, with addition of insufficient skills and human, know-how or regarding the opportunities to raise one’s skills relevant to the needsfinancial resources, such bodies rarely have the opportunity to play a of creative industry. Since the development of creativity is a long pro-significant role in the local economy or on the local labour market. The cess, there is a need to see and explore creative and talented youngsolution for such a situation is to educate for Creative Industry needs people and to manage their talents. This involves promoting develop-and wisely organise employment process. ment by offering internships and trainings and helping people to setThe establishment and development of a Creative Industry cluster re- up their own business. Turning attention to young people, one canquires a developed education and employment action plan, so that see that trainings and internships, and mentoring programmes couldthe undertaking can be achieved successfully. The answer may be a be very beneficial for not only creative industry but the whole eco-Joint Action Plan with special focus on learning and recruiting issues, nomy. It is also important to support educational institutions, as basedbecause one of the areas relevant to the emergence and develop- on a school-specific curriculum, and to stimulate curricular changesment of the CI cluster is Education in line with the needs of creative industry. Worthy launching are alsoand Employment. It’s important to Creative Industry Incubators that can be a trigger for rapid creativeassign objectives to be achieved, industry development, but with constant support and assistance op-target groups, tasks to be per- tions. From the viewpoint of the ‘creative class,’ there is a need to offerformed along with the tools to en- employment support services. But for the creative industry companies,hance their implementation, and there is a need for easy access to qualified personnel. Moreover, duethe results to be achieved along to the nature of creative industries, there is a need to spread and de-with the methods of indicated velop flexible forms of employment.measurements. 27
  25. 25. The aim of Education and Employment pillar provided to a creative Starting Pointcommunity, primarily in response to the expressed needs, should bethe organisation of workshops and trainings to strengthen professional Based on SWOT analysis we can recognize important factors valuablecompetence, and expand business skills and knowledge. In addition, for implementing JAP. Existing situation and local condition can deter-actions should be taken in connection with the creation of an edu- mine certain actions. Taking some surveys into consideration we cancational platform along with an updated database of educational facilitate Creative Industry development in Education and Employ-offers. Mentoring and coaching seem to be an excellent form of em- ment field.powering the personnel managing creative industries in the first place.Entrepreneurship Incubator for young entrepreneurs of creative indus-tries is also worth creating. What is important for the area of Education Academic background:and Employment pillar are the analysis of labour market needs in cre-ative industries, the construction of an industry job portal containing GDANSK - Rapidly growing number of students in higher art schoolsa database of employees (also potential ones) and companies, and and in other universities in fields of new creative technologies like digi-the creation of an e-platform making it easier to get jobs and orders/ tal imaging, graphics, software etc.partners for planned or already run projects. GENOA - In architecture/design and partly in the graphic arts can beThe diversity of proposed actions could be considered both as a chal- found highly qualified training patterns (Università di Genova, Scuolalenge, but also as the JAP strength allowing all Partners’ cities to ben- del Fumetto, ‘Cartoon School’)efit. The ambition is not only to present the ideas but also deal withcurrent problems and generate new knowledge and approaches. LEIPZIG - A big location advantage is that several education units of- fer possibilities like the Faculty Of Communication And Media studies at the Leipzig University • Innovative high class sound broadcasting study programs at Leipzig University (Master of Arts program Hörfunk) • Thanks to the highbrow education possibilities for journalists at the Universitiy of Leipzig there is a large number of freelance journalists28
  26. 26. LJUBLJANA - Level of education attained and the number of higher LJUBLJANA - Lack of specialised study programmes, e.g. for film andeducation students per resident are above the national average broadcasting industry • The international cooperation and student exchanges should bePÉCS - In Pécs operates country’s largest university regarding the enhancednumber of students, with 31 thousand of them attending the various • The programmes in educational institutions are not up to date withcourses. After completing the university the majority of students leav- the market demandsing Pécs, but in turn those who were due to work elsewhere rarelymove back to Pécs PÉCS - The knowledge-base doesn’t support the demand related training and innovative developmentEducational needs: Employment rates:GDANSK - Despite the high level of education in creative industries,such as architecture and ICT, the region lacks training opportunities GDANSK - Creative industry in Gdansk Metropolitan Area demonstratesin more specialized areas. Also training in field of technology skills 13 % share of entities and 8%share of total employment in enterprises in(project management, quality assurance and process engineering) the province. Within 5 years the sector recorded more than 17% increaseand “soft” skills (language skills, presentation, teamwork, marketing) in the number of firms.is needed • The greatest growth rate showed the following sectors: software (an increase of almost 50 % within 5 years), advertising and pro-GENOA - Genoa produces a great deal of ‘creatives’ in many differ- duction of jewellery.ent fields, but in spite of this it does not thrive market-wise • Number of people employed in creative industries in the Gdansk Metropolitan Area is 46 000 people, and throughout the regionLEIPZIG - Missing highbrow education offers such as film academies. over 63 000 people. It is about 8%of total employment in enter-Script writing is taught at the German Creative Writing Program with prises in the region.success, but due to financial reasons the variety of courses is limitedvery much. 29
  27. 27. LJUBLJANA - In terms of the number of employees the retail sale of cultural goods, architecture and software/games industry employed the most people in all the studied years in Ljubljana PÉCS - The 7% of total number of employment in the country comes from the creative industries. Further examine the type of businesses we can state that mainly in the sectors of Software, and Leisure develop- ment, the Design, and Architecture exist more business activities, and higher employment. Sub-branches division: GDANSK - Sub-branches most often represented in the creative sec- tor are: retail sales (i.e. of cultural goods), design services, architecture.GENOA - Creative industries correspond to 4.4% of Genoa and its These three sectors account for about two thirds of the number ofProvince’s economic context. entities in the creative industries in region• Between 2001 and 2007 the increase corresponds to 0.4 points. The • Less importance in terms of number of entities have operations in same can be observed as to the contribution to employment; the industries like: software, advertising, artists’ and performing arts,• Number of people employed in creative industries in the Province manufacturing jewellery of Genoa was 5690 in 2007 • The lowest rates of entities relate to the industries: journalism and publishing, museums and other cultural activities, film industryLEIPZIG - In 2007 the city of Leipzig had 12.374 employees in the fieldof the creative industries. After 2007 the highest growth rates can be GENOA - Genoa is a cradle of creative talents especially in the musi-found in the fields of Software and Games Industry and Design cal field, in the literary field, in the field of video productions and of design.30
  28. 28. Proposed ToolsLEIPZIG - Media industries and their sub-segments demonstrate big-gest growth rates. The media industry is –together with Software and Proposed activities with regard to Education:Games Industry, Radio and Broadcasting, Performing Art as well asMusic Industry - the central backbone of the creative industries in 1. Detailed analysis of needs of creative educational institutionsLeipzig. 2. Dedicated platform and/with databases 3. Targeted workshops and tailored training programmesLJUBLJANA - Creative people tend to concentrate in Ljubljana; how- 4. Cooperation on higher education levelever, there is no signal of a creative sub-branch that would stick out inLjubljana, in relative comparison to other creative sub-branches. Proposed activities with regard to EmploymentPÉCS - Most important sub-bransches are media industry, music (Pécs is 5. Detailed analysis of Creative Industry labour market trendsone of the pop music centers in Hungary), arts, architecture. 6. Promotion of employment in creative industryThe lowest rates of entities relate to the industries: film industry, cultural 7. Targeted internships programmetrade and softwer industry. 8. Mentoring support for graduates and CI start-ups• The 3 most important new sectors – sub-branches should be Music (pop and classical as well) and Film Industry together. Heritage and arts business based on Zsolnay Art Quarter. Education Tool 1: Detailed analysis of needs of creative educational institutions It’s necessary to launch an investigation in to what the education sec- tor needs to look like to support creative industry growth, evaluating the impact of existing educational programmes and searching for the innovative new methods of educating for creative industry needs. Sur- 31

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